What I'll Be Looking for in a Fiscal Cliff Deal

Andy Warhol, Dollar Sign, 1981

Sotheby's New York Sale N08554, May 10, 2012

 http://www.sothebys.com/en/auctions/ecatalogue/2012/contemporary-art-day-n08854/lot.221.html

As America's government faces yet another self-inflicted, artificial crisis at the close of this year, the so-called fiscal cliff, I offer my own observations on what we should look for in a deal to address the problem. I'm not an economist or an attorney or a politician, so I am going to give my opinions as a common citizen and try to use something I like to call common sense.

The draconian tax increases and spending cuts mandated under current law are not what we need right now as we struggle to regain our economic foothold. But it is unrealistic to think we can continue with no tax increases and no spending restrictions as this will make our deficit even more unmanageable and will ultimately mean a significant decline in American prosperity and influence as we are forced to put more and more of our resources into servicing the national debt.

There are no easy solutions remaining and certainly no solution will be popular. Any politician who is honest and tells us the party is over and things are going to be tough for a long time is not going to get reelected. But I'm just a blogger and I'm not running for anything so I'll say it: the party is over and things are going to be tough for a long time to come. Still, that doesn't mean we should pass the huge debt on to our children.

So then, here are five things that I'll be looking for in a fiscal cliff deal out of Washington, if there is one.

1) Neither party will be very happy with the outcome of the negotiations. If the press depicts one side as having "won," that may be a sign that we're in even more serious trouble. A deal is going to have to be based on compromise rather than intransigence. Spending is going to have to be reduced at least a little and taxes are going to have to rise at least a little. There is simply no other way to deal with a massive $16 trillion deficit. As the economy improves, government revenues will improve, but what is important is that the national debt remains manageable in good times and bad.

2) Solutions are enacted now. Delaying the day of reckoning another six months or a year is unacceptable. The closer we get to the next election, the more difficult it will be for Congress to accomplish anything.

3) Fixes should have built-in adjustments for inflation. OK, I know this will never happen. But if you set a higher tax rate for those making over $250,000, or over $1,000,000, don't leave the number there forever. Adjust it for inflation. The same goes for the exemption to the alternative minimum tax and the wage base limit on FICA contributions from paychecks. The value of a dollar declines every year. Hey, this isn't rocket science.

4) There should be a permanent fix for the Medicare Sustainable Growth Rate. There is no advantage to revisiting the same problem every December 31 and being unable to do anything except sweep the problem under the rug for one more year.

5) The debt ceiling, another crisis created by bad legislators, is fixed permanently along with the fiscal cliff issues. If Congress authorizes any deficit spending, the debt ceiling should automatically be raised to accommodate it. Period.

So, there you have it. Maybe I'm being a little simplistic, but I think we should all be demanding more of our elected representatives, not less. I'm not very confident that any of these five things will happen, but I see no harm in setting the bar high for our elected leaders.

If these leaders can't come to an agreement, I'd be happy to offer my services in binding arbitration. Let's get the deal done this week. Oh, but the government will have to compensate my boss for the lost time.

558

George Booth's New Procedures

Just what the doctor ordered, here is cartoonist George Booth's decidedly retro take on the latest medical technology. Mr. Booth, as you can see, also mastered cut-and-paste technology back when you had to do it by hand with paper and scissors.

George Booth, "Doctor Lillywall has authorized new procedures."
Original Artwork for The New Yorker, 1994

George Booth, "Doctor Lillywall has authorized new procedures."
Original Artwork for The New Yorker, 1994

George Booth, "Doctor Lillywall has authorized new procedures."
Reverse of Original Artwork, The New Yorker, 1994

George Booth, "Doctor Lillywall has authorized new procedures."
Backing, The New Yorker, 1994

George Booth, eBay Winning Bid

 http://www.ebay.com/itm/George-Booth-Original-Cartoon-The-New-Yorker-Magazine-1994-/271120912414?pt=LH_DefaultDomain_0&hash=item3f2010d01e&nma=true&si=VJo29%2F7WbHpl1SY9gWmnl4%2FkT80%3D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557

George Booth, eBay Item Description

http://www.ebay.com/itm/George-Booth-Original-Cartoon-The-New-Yorker-Magazine-1994-/271120912414?pt=LH_DefaultDomain_0&hash=item3f2010d01e&nma=true&si=VJo29%2F7WbHpl1SY9gWmnl4%2FkT80%3D&orig_cvip=true&rt=nc&_trksid=p2047675.l2557

January 27, 2012 Update:  Despite repeated attempts, I am unable to ascertain any publication history for this cartoon.

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Inge Morath: Steinberg Masked

Saul Steinberg:  A Biography by Deirdre Bair

The new biography of Saul Steinberg by Deirdre Bair features a cover photograph showing the artist wearing one of his own paper masks. The photographer is Inge Morath. Another photo of hers from this shoot is currently offered for sale at London's Chris Beetles Gallery. I wonder whether Steinberg preferred hiding behind his paper masks.

Inge Morath, Saul Steinberg, Manhattan, 1959

The Chris Beetles Gallery

http://www.chrisbeetlesfinephotographs.com/gallery/portraits/saul-steinberg-manhattan-1959.html

Inge Morath, Saul Steinberg, Manhattan, 1959

The Chris Beetles Gallery Listing

http://www.chrisbeetlesfinephotographs.com/gallery/portraits/saul-steinberg-manhattan-1959.html

556

From Arthur Rackham's A Christmas Carol

This lovely watercolor illustration by Arthur Rackham was reproduced as one of twelve color plates in Rackham's 1915 edition of A Christmas Carol by Charles Dickens. The Ghost of Christmas Past shows Scrooge a domestic scene in which the girl he was going to marry is now a mother. It sold well at Sotheby's for 15,000 GBP including the buyer's premium, although the auction house estimate was a tad higher.

Arthur Rackham, "A Flushed and Boisterous Group,"
A Christmas Carol, 1915

Arthur Rackham, "A Flushed and Boisterous Group," A Christmas Carol, 1915
Sotheby's London Sale L12408, Lot 177, December 12, 2012

http://www.sothebys.com/en/auctions/ecatalogue/2012/english-literature-history-l12408/lot.177.html

Arthur Rackham, "A Flushed and Boisterous Group," A Christmas Carol, 1915

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Vasco Mourão's New York Perceptions

This caught my eye in the current year-end double-issue of The New Yorker. It's by Vasco Mourão, a Portuguese artist based in Barcelona whom I had not previously noted. His page New York Perceptions resembles the Sketchbook page the magazine occasionally runs, not often enough for me. This is an incredibly detailed and textured rendering of some part of midtown. The boldly intruding negative space suggests this is adjacent to a park, although I don't recognize it. The vantage point is evidently extremely high, as if from an incongruously high tower. So, where exactly are we?

Vasco Mourão, New York  Perceptions
The New Yorker, December 24 and 31, 2012, Page 93

Below is another cityscape contributed by the artist and published in The New Yorker last April. Once again, it's dazzling, but where are we now exactly? Is that the Brooklyn Bridge entering midtown just north of the Chrysler Building? Here there is no possibility of this being a view from a tower. We are observing the City from over the East River, so this would have to be an aerial view.

What we're looking at is apparently a capriccio, a type of architectural fantasy popular in the 18th century, where buildings or ruins were juxtaposed in fantastic or impossible ways. We now have a 21st century version of this, where a reimagined midtown Manhattan is even more densely crowded than in reality.

But now what of the December image, above. It seems like a far more plausible aerial view, but is it truly based on reality, or is there some element of urban fantasy as well?

Vasco Mourão, New York  Perceptions
The New Yorker, April 23, 2012, Page 46

January 10, 2013 Update:  The New Yorker's online edition identifies the December 24 drawing as "About Central Park." That would make this a view of Central Park South with a dense array of buildings that are imported by the artist from other Manhattan locations.

554

Gerald Scarfe: The Marksman--Bangers and Cash

An original drawing by Gerald Scarfe was sold this month at Christie's South Kensington. Without knowledge of its original context, I'm not quite sure what's being satirized here.

Gerald Scarfe, The Marksman--Bangers and Cash
Christies South Kensington Sale 4079, Lot 155, December 18, 2012

http://www.christies.com/lotfinder/drawings-watercolors/gerald-scarfe-the-marksman-bangers-and-5645859-details.aspx?from=searchresults&intObjectID=5645859&sid=0fe8ce6d-1cba-4c5d-b9fb-ce991a2a7a86

Gerald Scarfe, The Marksman--Bangers and Cash
Christies South Kensington Sale 4079, Lot 155, December 18, 2012

http://www.christies.com/lotfinder/drawings-watercolors/gerald-scarfe-the-marksman-bangers-and-5645859-details.aspx?from=searchresults&intObjectID=5645859&sid=0fe8ce6d-1cba-4c5d-b9fb-ce991a2a7a86

Gerald Scarfe, The Marksman--Bangers and Cash
Christies South Kensington Sale 4079, Lot 155, December 18, 2012

http://www.christies.com/lotfinder/drawings-watercolors/gerald-scarfe-the-marksman-bangers-and-5645859-details.aspx?from=searchresults&intObjectID=5645859&sid=0fe8ce6d-1cba-4c5d-b9fb-ce991a2a7a86

While British politics are admittedly unfathomable to me, I do recognize the pun on the traditional working-class dish bangers and mash. If I may quote—from memory—Peter Schickele's explication (from Schickele Mix program #129) "...bangers are sausages, and M*A*S*H* is an old TV program."

Peter Sellers & Sophia Loren 

"Bangers and Mash," 45 rpm, 1961

Lee/Kretzmer

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Herblock's Santa

Currently offered for sale on eBay is this small drawing of Santa Claus created for a fan by political cartoonist Herblock (1909-2001).

Herblock [Herbert Block], Santa Claus
Inscribed, "Merry Christmas!  Herb Block."

Herblock, Santa Claus, eBay Listing

 http://www.ebay.com/itm/HERBLOCK-politial-cartoonist-Rare-Original-Drawing-Santa-Claus-Christmas-SIGNED-/261078582583?pt=Art_Drawings&hash=item3cc97f0537

Herblock, Santa Clause, eBay Item Description

http://www.ebay.com/itm/HERBLOCK-politial-cartoonist-Rare-Original-Drawing-Santa-Claus-Christmas-SIGNED-/261078582583?pt=Art_Drawings&hash=item3cc97f0537

552

The New Yorker Cartoons of the Year 2012

The New Yorker Cartoons of the Year 2012 has been on newsstands for over a month but the annual is not included with print subscriptions to the magazine. I haven't found it so easy to come by, but perhaps I haven't been looking hard enough. At any rate, it was the last thing I expected to see available for download free of charge on my iPad mini. The New Yorker already has a strong digital presence. The digital edition for computers is available free of charge to all print subscribers, and it is one very good deal as your subscription includes access to the magazine's full digital archive dating back to the first issue in 1925. There is also a very good iPad edition which is created specifically for this new medium. As far as I know, it is this iPad edition only that has the downloadable Cartoons of the Year. I'll take it.

Digital magazine publishing is still in its infancy, and pricing models will be in flux for some time. Right now, it is the task of publishers to get people to use their digital products and to like them. For someone like me, a lifelong devotee of the print medium, it is eye-opening to see gorgeous iPad editions that look even better than print, and it is downright close to game-changing to be offered a free download like this. Many subscription titles on Amazon's Kindle are available in both print and digital formats, but you usually pay separately for them. With The New Yorker, at least for now, it's all for one price. It's a good deal.

I never wanted an iPad, by the way. The iPad mini was an anniversary gift and I haven't been able to put it down in the month since I got it. I personally loathe the iTunes format and I hate the way it keeps me from having full access to my own files, but, as you can see below, I have been able to get screenshots and what more does a blogger really need?

Only one question remains. Do I still need to get myself a copy of the print edition?

The New Yorker Cartoons of the Year 2012
Cover by Harry Bliss

The Artists

Okay, I have to share just one. It's by Tom Cheney, who generally cracks me up. Here's how it looks on the iPad mini:

Tom Cheney, "I can't go on living with such lousy depth perception!"

 0551

iPad Mini Targeted New Yorker Ad

The current issue of The New Yorker has a back cover advertisement that includes the full front cover image by artist Frank Viva reduced to the actual size of an iPad mini. This must have required extraordinary coordination between the editorial and business departments. Apple is the client, of course, but the company name is only visible in the minuscule copyright line. I think this ad is a win-win for both Apple and The New Yorker. The magazine's print readers can get a glimpse of what this cutting-edge tablet can do for them. The New Yorker already publishes a stunning iPad edition that not all of its readers have seen. This ad, incidentally, does not appear in the magazine's iPad edition. That's what we call targeted marketing.

Frank Viva, "Top of the World," The New Yorker, December 24 & 31, 2012, World Changers

iPad mini advertisment, back cover, The New Yorker, December 24 & 31, 2012

0550

Peter Arno's Mistletoe

Peter Arno published a mistletoe gag?  Gee, I didn't see that one coming.

This original artwork by Arno set at a a servicemen's canteen was published in The New Yorker's Christmas issue in 1942. Some fifty years later it was given by the magazine's editor Tina Brown to Richard Avedon, whom Brown brought into the magazine as its first staff photographer. It may be hard to remember now, but there was a time when The New Yorker never ran photographs.

Brown walked away from the magazine in 1998. I just wonder how things are going for her now over at Newsweek.

Peter Arno,
"Be careful. The place is simply lousy with mistletoe."
Original artwork
The New Yorker, December 26, 1942, page 14

http://www.sothebys.com/en/auctions/ecatalogue/2005/property-from-the-estate-of-richard-avedon-n08091/lot.134.html



Peter Arno, "Be careful. The place is simply lousy with mistletoe."
The New Yorker, December 26, 1942, page 14

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